Verily, verily, I say unto thee, Good Omens is officially returning for a second season over at Amazon Prime, in collaboration with the BBC. In the excruciatingly long two year gap between the first season’s release in 2019 and today, there had been occasional whisperings of a continuation, some even straight from the lips of the series’ creator, Neil Gaiman, but nothing ever seemed to pan out. Many fans had given up hope that we would ever see the future misadventures of Crowley and Aziraphale, and the first season’s fairly conclusive ending seemed to back up that dreary assumption.
But the long delay can now be attributed to Gaiman’s deep respect for the source material, Good Omens: The Nice And Accurate Prophecies Of Agnes Nutter, Witch, which he co-authored with the late great British fantasy novelist Terry Pratchett. Gaiman today revealed that many of his and Pratchett’s ideas for the Good Omens sequel they never got to write together will now form the basis of season two – meaning the series will continue to be as much Pratchett’s work as Gaiman’s. The first season of Gaiman’s Good Omens adaptation borrowed a couple of major characters and plot beats from this unwritten sequel, but the second season appears to be a mystery story revolving around the sudden appearance of a stray angel with amnesia in a street market in Soho, where Crowley and Aziraphale are now living quite peacefully, having averted Armageddon and prevented a war between Heaven and Hell at the end of season one.
What happens after that is anyone’s guess, but Gaiman did give fans reassurance that Good Omens will continue to explore the far-distant past, putting a quirky and humorous spin on Biblical events – this time including the moments leading up to Genesis, and the creation of all things. We’ll also presumably see more of Crowley and Aziraphale’s time on earth, meddling in human history or cautiously observing it from a reasonable distance – and most importantly, just as in season one, we can safely assume these flashbacks will give us more insight into how the unique relationship between the begrudgingly spiritual demon and the charmingly worldly angel has developed over the years, and how it will continue to grow.
Good Omens has one of the few fandoms that is almost unanimously in support of the two male (or in this case, more likely male-aligned) leads becoming an explicitly romantic couple – perhaps because Good Omens is already so abhorred by the right-wing that very few homophobes seem to watch it at all – so it wouldn’t surprise me at all if Gaiman gives the fans what they want in this case. Regarding Crowley and Aziraphale’s relationship in season one, he said that he consciously structured it as “a love story”. And with the stakes a little less high in season two (at least at the outset, it seems), there’ll be plenty of time for more cute moments between the duo, whom fans have dubbed the Ineffable Husbands.
David Tennant and Michael Sheen will return to reprise the lead roles in season two, which will begin filming in Scotland sometime later this year. We can reasonably expect to see other major characters from season one return, including Jon Hamm as the Archangel Gabriel, Adria Arjona as the good witch Anathema Device, and Frances McDormand as the Voice of God, but I’m very excited to see which new characters Good Omens has in store for us. We’ve met the literal Antichrist already, so one has to wonder if some version of the Messiah themselves – like, the real one – might pay a visit to Earth in season two. It seems obvious, but at the same time perhaps a bit too obvious? The wheel-shaped Ophanim angels, or Seraphim angels with six wings and hundreds of eyes, might offer less predictable alternatives.
With the first season of Marvel’s Loki – which I described as brilliantly emulating the spirit of Terry Pratchett – nearly over, it’s comforting to know that we’ll soon be seeing more zany comedy on our screens, and from Pratchett’s own wild imagination, no less. Now how about we finally get the Discworld adaptation we deserve?
As WandaVision‘s central mystery expands across several decades of television history and at least two distinctly separate realities, so too does its cast of characters, both major players and bit parts. And with Wanda raising the stakes dramatically in episode three, it’s becoming more important to tell characters apart and work out the most important details in any Marvel Cinematic Universe property – who’s connected to whom, and who’s working for whom? WandaVision hints at the idea that charming newlyweds Wanda Maximoff and Vision are being manipulated by dark forces lurking within their quaint suburban community of Westview: but after yesterday it’s looking more likely that Wanda herself has a hand in causing the strange events that plague her and her husband from day one of their married life together.
Let’s get into it, shall we?
Our series’ heroine has always been something of a lone wolf. After the events of Avengers: Endgame, with Vision dead, her strongest tie to the Avengers family was severed – and it looks like she decided to finally follow Hawkeye’s lead and just retire. But Hawkeye already had a family with which to settle down. Wanda first had to build one of her own, which would require her to do…whatever she did to bring back Vision back to life, possibly only in her dreams. Noting how violent her reaction has been to the S.W.O.R.D. logo whenever it pops up in Westview, many fans have speculated that Wanda was working with S.W.O.R.D. (which stands for Sentient Weapon Observation and Response Division in the MCU) to resurrect Vision when she went rogue and decided to hijack the experiment, eloping with her android boyfriend into a pocket dimension that she created on the site of the real town of Westview…or which someone else created for her, in order to lure her into a trap. Either way, it’s beginning to look like the citizens of the real Westview are now trapped there with her against their will, and are the real victims in this messy situation.
Allegiance: let’s mark her down as a free agent for now. It may turn out she’s being too heavily manipulated to see the chaos she’s causing, but honestly, it looks like she has a lot of control over Westview and is enjoying her newfound power. So even if she’s not entirely at fault, I don’t think she’s blameless either.
How did Vision go from being killed by Wanda to being resurrected by Thanos, to being killed by Thanos, to being resurrected yet again in WandaVision? Well, extrapolating off the theory that Wanda was working with S.W.O.R.D. to resurrect the android post-Endgame, my guess is that S.W.O.R.D.’s tech was capable of rebooting Vision – but without any of his past memories, including those he shared with Wanda. Learning this could easily have spurred Wanda to betray S.W.O.R.D. and steal the android’s partially-rebooted body for her own purposes, and would explain why Vision’s memory seems so fragmented. He clearly remembers Wanda, or at least has been convinced to think he does, but he seems clueless about his past, and even his purpose in Westview: unlike Wanda, who enters the sitcom reality with a clear motive to settle down and fit in. But he’s also inquisitive, which will serve him well in the coming days/decades.
Allegiance: I believe he’s linked to Wanda, at least for now. He’ll probably try to exercise his free will as the couple clash in later episodes, but I have a nasty feeling Wanda will be able to tug him along whithersoever she goes. Doesn’t mean we won’t get an epic battle sequence out of it, though.
Many of us are so convinced that Wanda’s overly-friendly next-door neighbor Agnes is actually the evil witch Agatha Harkness from Marvel Comics that it’s become almost second nature to refer to her as Agatha. With literally every clue pointing towards this being the case (apart from the similar names, Agnes’ wedding anniversary is the same day the Salem Witch Trials started, she wears a witchy brooch, and even owns a rabbit named for Harkness’ son in the comics), it seems almost too easy a connection to make. Personally, I suspect Agnes will be Agatha in some form or another, and is probably still a witch, but I’m not convinced Marvel isn’t totally reinventing the character as a more sympathetic antiheroine, a victim of manipulative forces. My guess: she’s responsible for luring Wanda into the pocket dimension surrounding Westview at the orders of Mephisto, Marvel’s devil, and is thus aware of what’s going on – but isn’t fully evil.
Allegiance: Agatha Harkness being Mephisto’s right-hand woman in the comics paves the way for Agnes to fill a similar role. But her small panic attack in yesterday’s episode makes me think she’s unwillingly serving the devil and trying to escape from him. There’s an interesting story to be told there about the toxic and abusive relationships endorsed by the same patriarchal system that many classic sitcoms upheld.
Dottie And Phil Jones
Dottie (and, to a lesser degree, her husband Phil) is perhaps WandaVision‘s biggest enigma to me at the moment, and I’ve cycled through several theories about who – or what – she is. Her high status among the citizens (particularly the women) of Westview strongly implies that, like Agnes, she may be a witch. And with witches and Mephisto going hand-in-hand in Marvel comics, it’s not too much of a stretch to extrapolate that she could be working with the devil to steal Wanda’s twins – after all, she did lead the eerie communal chant of “For The Children”. But I’m beginning to wonder if the lemonade glass exploding in her hand and revealing her red blood (in the black-and-white episode) was an attempt by Mephisto to alert Wanda to the fact that Dottie, whether she’s a witch or not, is also a third-party intruder with her own agenda in Westview.
Allegiance: if Dottie has an ulterior motive for wanting Wanda to hurry up and have kids, what is it? Like Mephisto in the comics, she could be trying to absorb young Billy and Tommy into her soul to increase her demonic power…or, if she’s not evil, she might be trying to protect the children before someone else has a chance to kidnap them.
Despite how it looks, not everybody in Westview has some grandiose plan to steal Wanda’s babies – and now that episode three has confirmed that Westview is a real town in the real world, it would seem that most of the background players in WandaVision are just regular people who got sucked into the sitcom fantasy against their will. Judging by how close Westview appears to be to a large S.W.O.R.D. complex, some of these people might be low-level S.W.O.R.D. staffers, nonthreatening to Wanda. Vision’s co-worker Norm could fall into this category (his actor, Asif Ali, also played a low-level Cybertek employee in Agents Of S.H.I.E.L.D.). Others, like Herb and possibly the mailman Dennis, might have a better idea of what’s going on – Herb even begins to disclose the truth to Vision, telling him that “Geraldine” arrived in Westview “because we’re all…she came here because we’re all…” before being stopped by Agnes, who confronts him with a panic-stricken expression. We’re all…trapped, I assume? Dennis has his own bizarre run-in with Agnes while walking past Wanda’s house, where they exchange what seems like coded banter.
Allegiance: most of these folks, with the possible exception of Herb and Dennis, probably don’t have any strong allegiances that will put them at conflict with Wanda, Mephisto, or even neighbors like Agnes. If that changes, I’ll be sure to point it out.
Long before WandaVision premiered, it had already been confirmed by Marvel that Teyonah Parris would be playing Monica Rambeau in the series, so “Geraldine’s” secret identity was never much of a mystery. Set photos and promotional material had also revealed that Rambeau, last seen in the MCU as the young and impressionable daughter of retired test pilot Maria Rambeau in Captain Marvel, would now be working with S.W.O.R.D. in some capacity. If WandaVision were following the comics exactly, this would totally make sense: there, S.W.O.R.D. deals with space and explores alien worlds, and MCU Monica grew up surrounded by aliens thanks to Captain Marvel’s dealings with her mother. But MCU S.W.O.R.D. tackles “sentient weapons”, making Monica’s chosen career path a little more confusing. In the comics, Monica also has superpowers – which I think Wanda might have accidentally given to her when she wrapped Monica up in a hex-magic cocoon and tossed her out of WandaVision.
Allegiance: Monica seems loyal to S.W.O.R.D.; though a conflict could arise if S.W.O.R.D. responds to Wanda’s actions with further violence, and Monica cautions them to go gentle. Monica was raised to see the good in everybody: I think she’ll sympathize with Wanda’s pain, and genuinely want to help her.
In the first three episodes of WandaVision, we’ve learned more random details about Agnes’ mysterious husband “Ralph” than we’ve learned about Agnes herself…but where is he? Who is he, really? Until he shows up in person, we won’t know – but my suspicion is that he’s none other than Mephisto himself, and that his marriage with Agnes is more metaphorical than anything (but literal enough that Agnes actively avoids her “mother-in-law”), a way of hiding in plain sight while observing Wanda. Agnes’ remarks about him paint a disturbing picture of a repulsive character whom Agnes wants to leave, but can’t.
Allegiance: if “Ralph” truly is Mephisto, he serves no one but himself, but freely manipulates those around him, like Agnes, Dottie, and of course, Wanda.
So what do you think? Which WandaVision characters do you want to know more about heading into episode four? Share your own thoughts, theories, and opinions, in the comments below!
The first two episodes of WandaVision, which dropped on Disney+ this morning, certainly gave us plenty to talk about – and potentially theorize about. Although it’s still too early to predict exactly what great big catastrophe Wanda Maximoff and her family are headed towards, we can already begin to see clues coming together and potential story threads emerging from the tangled web that is Wanda’s new reality. The quiet suburban paradise that is Westview is not what it claims to be on the brochure, and there’s reason to believe that multiple powers are at play behind the scenes, manipulating the entire town – and especially the Maximoffs – for their own agendas. But what are these agendas? What do these dark forces want with Wanda, or her husband, or her soon-to-be-born twin sons?
The most prevalent theory in the fandom – and a very convincing one, at that – is that the prime mover of events in WandaVision is Mephisto, Marvel’s version of the Christian Satan, and the lord of a fiery pocket-dimension he calls Hell (but which isn’t, technically). This theory is backed up by little references scattered throughout the first two episodes of WandaVision: from the name of Agnes’ adorable bunny (Señor Scratchy is a cute and devastatingly clever play on Satan’s real-life nickname, Nick Scratch), to the fact that Agnes basically just comes out and says it in episode two, noting that the devil’s in the details, but “that’s not the only place he is”. Agnes herself has long been believed to be Agatha Harkness, a sorceress from the comics who is Mephisto’s trusted acolyte and partner-in-cosmic-crime.
And as for who Mephisto is in Westview, well, there are good theories about that too: some fans think he’s Agnes’ mysteriously absent husband, “Ralph”, whom she’s only namedropped about a dozen times at this point. Personally, I wouldn’t be surprised if he turns out to be “Ralph”…or if “Ralph” then turned out to be the salesman who routinely interrupts the WandaVision broadcast to advertise painful memories from Wanda’s past, disguised as historically-accurate household appliances and accessories…or if the company behind those vaguely disturbing infomercials turned out to be the same company that Vision is working for in Westview – you know, the company where nobody knows what they produce, market, sell, or even do on any given day. It’s all connected, as they like to say in the MCU.
But as you can probably sense, I don’t think Mephisto is necessarily the main villain of WandaVision. I’m sure he’ll be a villain, and I strongly believe he’s the one who’s secretly in control of Wanda’s dream-world, feeding her wish-fulfilment and fantasies to keep her content until the day when she gives birth to her twins, and Mephisto arrives (or more likely sends Agatha – sorry, Agnes) to kidnap the kids and harness their chaotic power for evil in a ritual sacrifice or something similarly unpleasant. But if that’s not main villain behavior, then what is? Well, I think there’s a few ways this could go, actually, but simply put – my theory is that Ultron (yes, that Ultron) is coming back, and he’s bringing a brand new comic-book villain with him.
I know, I know, it sounds ridiculous. But let’s start with the opening credits for WandaVision, episode two – a fun little black-and-white animated montage modeled on the Bewitched opening sequence, that follows Vision as he glides through the walls of the Maximoff family residence. Caught up in the moment, you could easily miss the fact that at one point he passes straight through a wall that is, uh, filled with bones. I know I did, the first time around. But more importantly, you might (and I did) also miss the distinctive four-pronged helmet that is lying amidst all those bones – the helmet which belongs to a Marvel Comics villain named the Grim Reaper.
The Grim Reaper, wearing his helmet and wielding a scythe/buzz-saw/helicopter hybrid weapon has featured prominently in a number of comic storylines over the years, so just having him show up in WandaVision as an antagonist would make sense even if he serves no larger purpose. He’s also a powerful necromancer – and maybe that has something to do with the way in which Vision has been restored to perfect health after having his head bashed in by Thanos. Certainly it could be useful, given the Reaper’s helmet is lying in a small graveyard. But I believe there’s more they can do with the character, and there’s even precedent for it in classic comics. Allow me to explain.
1991’s Reaper And The Robot story arc featured the Grim Reaper and a familiar robotic fiend, the genocidal super-computer known as Ultron. In the MCU, Ultron has only been utilized once as a villain, rising to power in Avengers: Age Of Ultron and briefly enlisting Wanda Maximoff to his cause before betraying her trust and then acting all shocked when she and her brother Pietro betrayed him in turn. Ultron died a couple times, with Wanda ripping the heart out of his main body, and the last of the robot warrior skeletons into which he had uploaded his consciousness being pulverized by Vision at the end of the movie. But Ultron is almost beyond human comprehension – it’s hard to say for certain that he died, especially now that Vision is out here proving that you can literally have your head crushed TWICE and still come back in some shape or form.
In the aforementioned comic storyline, Ultron takes refuge from the Avengers in an underground lair that just so happens to be situated within a sewer system, where the Grim Reaper finds him. WandaVision episode two, meanwhile, ends with an anonymous character (randomly dressed as a bee-keeper) emerging from a manhole cover in the middle of the road, the implication being that people are infiltrating Wanda’s world through the sewers. This character is wearing the logo of S.W.O.R.D. on their bee-keeping uniform, which would seem to suggest they’re not out to harm Wanda but to rescue her from whatever trap she’s landed in, but that being said, the character in question definitely doesn’t appear friendly – especially not with their face strategically kept in the darkness. It’s gotten to the point where theorists are legitimately considering whether this person is the Spider-Man villain Swarm, an obscure character comprised of a humanoid swarm of mutant Nazi bees under the control of a dead German scientist whose skeleton they hold onto for…reasons. As much as I’d love that kind of a bizarre plot twist, I think it’s far more likely this character is either a harmless S.W.O.R.D. agent from the outside world, or the Grim Reaper.
But if the Grim Reaper is around in Westview, and if Ultron is supposedly down in the sewers, what happens next? Well, in the comics storyline, they meet and team up – with Ultron’s primary motive being to design murderous robotic versions of superheroes, including Wanda’s twin brother, Pietro Maximoff. In the MCU, it might not be possible to do this without first obtaining his body from wherever it was buried: and that’s where having a necromancer on your team suddenly makes sense. Without knowing the themes of WandaVision yet, it’s hard to say how this plot-point would or could be integrated: but I imagine there would be some kind of struggle between Wanda and a resurrected Pietro, perhaps more emotional than physical, and we’d finally see Wanda confront all the regrets and mistakes from her past that she’s pushed into the darkest recesses of her mind. Subtly supporting this notion is the existence of those strange infomercial segments interspersed throughout WandaVision, that hint at parts of Wanda’s past she’s tried to forget: including the death of her parents, and her history as a HYDRA lab experiment. And based on how the series is proceeding, episode three’s commercial will likely bring up another painful chapter of her life – her time with Ultron, and her brother’s death.
If this storyline is adapted in any way, some elements will surely be altered. Perhaps Mephisto will be involved (in fact, I’d expect him to be), or perhaps Ultron will be radically different from how we last saw him. But with the pieces all falling into place, I can’t not present this as a possibility. We know so little about how WandaVision will play out, this is the perfect time for truly wild speculation.
On that note, what do you think? What are your best guesses about WandaVision, and what villains do you particularly want to see? Share your own thoughts, theories, and opinions, in the comments below!
A year’s worth of quarantines and COVID-19 delays has changed us all, Marvel Studios’ classic formula and release date calendar included. Thus, WandaVision, originally slated to follow two more traditional Marvel installments (Black Widow and The Falcon And The Winter Soldier) onto the scene, is now kickstarting the MCU’s fourth phase of movies and Disney+ streaming series’. It’s a bold and potentially risky move: WandaVision is the kind of experimental property that Disney was probably afraid to lead with, due to its, shall we say, zanier qualities.
But as the MCU expands across multiple new mediums and genres, WandaVision probably offers the most authentic taste of what’s to come in the near future. Refreshingly unpredictable, quirky, and a bit more mature in tone than what we’ve come to expect from Marvel, the series’ first two episodes released this morning offer up a complex yet intoxicating concoction – blending the charm of retro black-and-white sitcoms with a dash of chilling psychological horror. Ironically, the only ingredient absent from the recipe is superheroes – and I’m okay with that.
With no Avengers running amuck, and with both Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) trying to hide their supernatural origins from their neighbors, WandaVision‘s quaint suburban utopia is perfectly normal in every way, at least at first: and only hints of the larger cinematic universe are able to bleed through, mostly via brief, jarring, infomercial segments that interrupt each episode about halfway through, advertising some bizarre product with a hidden MCU connection – a Stark Industries toaster, which refers back to Wanda’s own complicated history with Tony Stark, and to Vision’s famous comics nickname; and a classy Swiss wristwatch named for Wanda’s old handler, Baron Von Strucker, and bearing a small, sinister, HYDRA logo.
But for the most part, we’re simply following Wanda and Vision’s day-to-day misadventures in the picturesque town of Westview, as if we were being dropped randomly into the middle of actual sitcoms. The first two episodes span two decades of television history – the first set in the 50’s, with a familiar aesthetic borrowed from The Dick Van Dyke Show and I Love Lucy, and the second in the 60’s, with cute nods to Bewitched: including a near-identical animated opening sequence and some suspiciously witchy behavior. Each episode comes with a new theme song written by Frozen songwriting duo Kristen-Anderson Lopez and Robert Lopez, but the cast of characters remains the same, their ages and appearances largely unchanged even as they advance rapidly through time.
Elizabeth Olsen is at the top of her game, bringing out the best version of Wanda Maximoff yet with the help of extremely well-written dialogue and witty jokes that land well more often than not (the live audience laughter is give-or-take, though it works with the setting). Olsen has great comedic timing, and, crucially, all the charisma and earnestness of the real-life sitcom heroines from this era. She finds opportune moments to subtly channel the sophistication of The Dick Van Dyke Show‘s Mary Tyler Moore, the casual confidence of Bewitched‘s Elizabeth Montgomery, and the unbridled campiness of I Dream Of Jeannie‘s Barbara Eden, depending on what any given scene requires – but her performance is entirely her own, and never crosses the line into parody. Paul Bettany, meanwhile, lends a surprising amount of physical comedy and slapstick humor to the series, as well as his character’s signature brand of sardonic wit. Combined, the duo are more compelling and more naturally romantic (I’d even go so far as to say “adorable”) than we’ve ever seen them to date. With the series jumping into the 50’s setting right off the bat and providing no explanation for why or how two characters last seen in the modern world (one of whom even died – twice) are now living in an oldschool sitcom, Olsen and Bettany’s relatable performances act as necessary anchors for the audience – the couple seem just as unsure and unsettled as we all are, but do their best to ease into Westview’s flow without making a stir because (a) they don’t really have an alternative, and (b) who wouldn’t do the same, placed in a similar situation?
Of course, their actions lead to some hilarious hijinks (a particularly funny one involving a mix-up with a wedding anniversary that neither Wanda nor Vision can remember, because, well, they haven’t actually gotten married yet), but the couple seem to be doing pretty well playing catch-up on everything they’ve missed, while making new friends in town.
In fact, one could argue the neighbors are a little too friendly, and too quick to forgive and forget any of the couple’s oddities in pursuit of some ulterior agenda. Agnes (Kathryn Hahn), Wanda’s next-door neighbor on the right (“my right!,” Agnes unhelpfully elucidates), pops by periodically to check in on Wanda or help her out of a predicament with a well-timed pineapple. In episode two, Agnes also provides Wanda access to the town’s high society cliques, including the event planning committee headed by a woman named Dottie (Emma Caulfield), who goes from hating Wanda’s guts to endlessly praising her. Eventually it becomes creepily clear what prompts this change of heart: Dottie’s motto, which she and her friends recite in a reverent chant, is “For The Children”; a simple message that glosses right over the fact that Westview has few, if any, junior members at all – until Wanda herself suddenly becomes pregnant near the end of episode two.
If you’re familiar with the comics, you’ll know that Wanda’s twins, whom I expect will arrive at some point in episode three, are of great interest to multiple dark powers lurking in the Marvel universe – including the evil sorceress Agatha Harkness, and the devil himself, who typically goes by the name Mephisto. Many fans have already caught onto the fact that Agnes is probably Agatha Harkness in some form or another, but Mephisto is probably already in Westview too. Agnes seems to confirm this in episode two, after Dottie remarks that “the devil’s in the details”, when she whispers to Wanda in an aside that he’s in other places too. Mephisto hasn’t shown up physically yet, at least not that we’re aware: he could be the salesman in the aforemtentioned informercial segments, whose products are all fragments of Wanda’s traumatic memories, and who is accompanied by a tall woman who might be another version of Agatha too. Or he might be Agnes’ mysterious husband, “Ralph”, whom she mentions in passing so many times he has to be significant. Even Agnes’ pet rabbit, Señor Scratchy, has a Mephisto connection: Scratch is a term often applied to the Christian devil, and Nicholas Scratch is the name of Agatha Harkness’ son, an ally of Mephisto.
There’s a distinctly creepy undercurrent to WandaVision – quite literally, as episode two’s cliffhanger reveals that anonymous characters from the outside world have been moving underneath Westview via the sewers, dressed in bee-keeping uniforms for some unbeknownst reason. There are loud noises in the night, a strange voice cuts through radio static to loudly address Wanda by name, and a colorized toy helicopter shows up in Wanda’s black-and-white rosebush. The show’s visual iconography feels straight out of an arthouse horror picture: a crimson splash of blood on Dottie’s hand, constantly flickering TV screens, Mrs. Hart (Debra Jo Rupp) laughing while her husband chokes to death on the floor. The implication is that WandaVision sometimes glitches – but whether that’s because of someone inside manipulating Wanda, or someone outside trying to exert control, or Wanda herself losing control over what she’s created, is unclear.
Certainly it looks like agents from S.W.O.R.D. are trying to break through to her from outside, and that Wanda is unintentionally absorbing them into her world, rebooting them with new identities and forms – in much the same way that, while dreaming, you might still be able to hear noises in the real world, but your brain contextualizes them within the dream’s internal logic. For instance, we the audience know that Teyonah Parris’ character is not who she says she is to Wanda, a cheerful young debutante named “Geraldine”, but is in fact a S.W.O.R.D. agent named Monica Rambeau (whom you may remember from Captain Marvel). But Wanda doesn’t know that, and Monica doesn’t seem to know either – she’s been so deeply absorbed into the fabric of Wanda’s reality that she’s forgotten her own.
It’s easy to see why. WandaVisionmasterfully recreates the world of classic sitcoms, employing practical effects and only the most rudimentary digital effects to convey Wanda’s chaos magic. From the shifting aspect ratio to the cinematography, to the hard work of the hairstyling and costume departments, to the period-accurate slang and mannerisms (for example: Wanda and Vision begrudgingly respect the constraints of unseen network censors until the 60’s, when Wanda converts their two beds into one), everything in this faux reality feels perfectly authentic, and detailed enough that I can’t wait to rewatch it again and again. My only major complaint is that I fear we won’t spend enough time in any decade to feel truly settled in one – though I rather suspect that’s the point, since Wanda and Vision are facing the same struggle: not being able to fit in no matter the era and changing social norms, and despite their best efforts to disguise their differences.
In episode one, Vision promises Wanda that their star-crossed romance will finally have a happy ending in Westview…but, well, considering that he’s actually dead and she’s about to lose everything again, we’ll see how long that lasts.